After a lay off of a few years due to the obvious, though last year's Online Only event was brilliantly done. Power Metal Quest Fest was back in the home of heavy metal, Birmingham. For one whole day The Asylum venue was filled with, myths, legends, swords, sorcery and all manner of other genre troupes, as the finest, power and trad metal bands brought their chainmail and their various types of weaponry to the stage in front of a crowd baying for power metal mayhem.
With all the organisation that has been put in behind the scenes it must have been a real relief when first band if the day Ironside (7) took to the stage. Comprised of some familiar faces they were an odd prospect that mixed the keyboard driven progressive metal of bands such as Muse with the Viking influenced sound of Ensiferum or Turisas. Having only just released their debut single much of the set was new to the crowd but that didn't stop them headbanging along and enjoying all the songs based upon Norse Mythology. A heavy opening to the day as clean and shouted vocals traded off between gutsy guitar riffs and plenty of keytar (yes I said keytar). A lot of talent and promise here, I'll be keeping a keen eye.
Up next though was the band who garnered the entire room’s attention. Playing to the highest crowd of the day, including the headliners, Essex fantasy metal band Fellowship (9) were welcomed with deafening cheers before, during and after their set. At times I must have been like wath ING The Beatles as Shea Stadium as every word was sung back, every song cheered, the band looking genuinely staggered about what was unfolding in front of them. Playing songs from their brilliant debut album The Saberlight Chronicles, the crowd hung on every word, really making me think that the sooner they do a UK tour the better. Even some technical gremlins, being one member down, Brad "Bard" Wosko taking all the guitar, couldn't stop them. Liam Gloster slid into the ranks well on bass, joining drummer Callum Tuffen for the most blistering power metal bottom end this side of Sonata Arctica (early of course) though it was frontman Matthew Corry that kept it all together as not only does he have an amazing voice, high pitched screams delivered effortlessly, he's also humble and affable, welcoming you into the upbeat world of Fellowship. With the entire room united in song and excitement over Fellowship, they were going to be a rock hard act to follow for the remaining bands.
Next up though were a band whose collective members are all an experienced part of the metal scene. South Wales'...and the South West Of England's Rites To Ruin (8) were the first of the three bands that varied from the power metal path a little. No stranger to myself due to my history in the South Wales/South West Metal Scene, for many this may have been their first viewing of the band. Fronted by the always incredible voice of Krissie Kirby, they amped up the heaviness for a more traditional/thrashy affair, taking songs from their debut EP. Krissie giving Ann Wilson vibes as she belted though songs from Fire flanked by the biting guitars of Matt Chambers and Lee Cartner, Paul Boschen's grooving, growling bass setting a pace for Tom Ross' percussive assault. Unfazed by what had come before Rites to Ruin played with a confident swagger as they made The Asylum a louder heavier place. So confident on fact that they actually raced through their set a bit too quickly finishing with about 5 minutes to spare! Always a delight to witness Rites To Ruin continue to grow as a band, with members from all genres each show sees them becoming a slicker, more cohesive unit who you'll want to watch again.
Coming all the way from Athens Greece, to play your first every UK show, may be daunting for some bands but when you're warm up was a show in September opening for Epica, Blind Guardian and Sabaton in front of 10,000 people, I think The Asylum may not be as scary, despite the barbed wire decor. Still the nerves were there but you wouldn't know it seeing The Silent Rage (8) take to the stage. Again there was a few technical issues with Nick Sarbanis' guitar but 'new' frontman Micheal Rinakakis handled it well and boy oh boy can he sing heavy/melodic power metal that builds on the more American/German sound. Huge screamed vocals from the speed metal era make the older songs his as Sarbanis and band leader Nikos Sigilis crank out more harder edged power metal. Playing material from their last album and EP they also included a family new song too which is off their coming soon second album. George Haniotakis and Stamatis Katsafados brought thunder to the bottom end, getting heads banging, winning over a sizeable proportion of the crowd the post gig congratulations were many as The Silent Rage hopefully will now play more shows outside of Europe (that still feels weird to say)
When is a power metal band not a power metal band? When it’s Scottish melodic prog chancers Tiberius (8), having seen their wild stage show at Radar Festival, Tiberius took to The Asylum stage and then just as quickly came off it Chris Foster (guitar) and Grant Barclay (vocals) still spending most of their time in the crowd as the rest of the band; Jahan Tabrizi (guitar), Ryan Anderson (bass and Nick Kelly (drums), stayed firmly put on the stage as all manner of shenanigans were happening in the crowd. Tiberius have been likened to a power metal band in many reviews, due in part to their melodic songs and Grant's vocals but here they were probably the most left field act with a pocket full of djent riffs there was a few confused faces clutching their broadswords but for me Tiberius always deliver a stand out show live. There must be something in the drinking water up in Scotland as Tiberius are and who take the words “interactive” to a whole new meaning, Foster grinding on members of the crowd (with consent of course!) and even encouraging those in the smoking area to come in and see them, while they were performing. A class act, which stood out for numerous different reasons.
For those clad in chainmail, fresh from the battle, it was back to some more familiar territory with Southampton’s defenders of true metal Battle Born (7), taking as many cues from Manowar as they can and playing songs about the Elder Scrolls games, this was power/battle metal 101. They even have song called Man Of War just crying out for the sign of the hammer (though they’d probably get sued). With just an EP to their name, Battle Born look set to take the fight to ‘false metal’ for a good while yet. Professional staging and performances, though they haven’t quite got the ‘epic’ feel of their compatriots but that will come. Still things were back firmly in the power metal canon, with the now pretty inebriated, but very very jolly, crowd throwing up their plastic swords for the duration.
Continuing towards the home straight were a band that have recently returned from a lengthy hiatus after their previous vocalist left the band in 2019, Yorkshire’s siege masters Sellsword (8) made their return at Power Metal Quest Fest with new singer Nathan Harrison debuting as the frontman of this always excellent live act. The mix between performance and staging is brilliantly done as the shield walls are constructed on the stage, Nathan presented his Sword/Mic Stand by the Lady Of The Lake during the opener Pendragon, taking his place as the new Siege Lord of Sellsword. Despite seismic change in their membership, it didn’t seem as if they had lost any of their power as band, laying waste to The Asylum with some calculated, power metal fury, planned more meticulously and delivered more ruthlessly better than Caesar at Alesia. Welcomed back as conquering heroes, there are already more gigs in the offing so it looks as if Sellsword are back in action for good. This my friends is a reason to celebrate!
It was time for the final band and as the changeover came, it was time to reflect on the Power Metal Quest Fest experience and I have nothing but the utmost respect and kudos to Amie and the entire PMQF team for keeping this endeavour afloat despite the huge problems faced by any festival/event due to Covid/Brexit etc etc. To have two Non-UK bands playing what is quite a small festival without any other shows either side is a massive achievement, while being a showcase for the best in UK talent from both the much maligned power and prog metal genres (two genres that so often are overlooked by major festivals not just smaller ones) is a reason to show support to this festival. Friendly staff all round, decent drink prices, easy access and plenty of great bands, the room was held in anticipation for Czech conceptual metal heroes Symphonity (7) to hit the stage.
With all the organisation that has been put in behind the scenes it must have been a real relief when first band if the day Ironside (7) took to the stage. Comprised of some familiar faces they were an odd prospect that mixed the keyboard driven progressive metal of bands such as Muse with the Viking influenced sound of Ensiferum or Turisas. Having only just released their debut single much of the set was new to the crowd but that didn't stop them headbanging along and enjoying all the songs based upon Norse Mythology. A heavy opening to the day as clean and shouted vocals traded off between gutsy guitar riffs and plenty of keytar (yes I said keytar). A lot of talent and promise here, I'll be keeping a keen eye.
Up next though was the band who garnered the entire room’s attention. Playing to the highest crowd of the day, including the headliners, Essex fantasy metal band Fellowship (9) were welcomed with deafening cheers before, during and after their set. At times I must have been like wath ING The Beatles as Shea Stadium as every word was sung back, every song cheered, the band looking genuinely staggered about what was unfolding in front of them. Playing songs from their brilliant debut album The Saberlight Chronicles, the crowd hung on every word, really making me think that the sooner they do a UK tour the better. Even some technical gremlins, being one member down, Brad "Bard" Wosko taking all the guitar, couldn't stop them. Liam Gloster slid into the ranks well on bass, joining drummer Callum Tuffen for the most blistering power metal bottom end this side of Sonata Arctica (early of course) though it was frontman Matthew Corry that kept it all together as not only does he have an amazing voice, high pitched screams delivered effortlessly, he's also humble and affable, welcoming you into the upbeat world of Fellowship. With the entire room united in song and excitement over Fellowship, they were going to be a rock hard act to follow for the remaining bands.
Next up though were a band whose collective members are all an experienced part of the metal scene. South Wales'...and the South West Of England's Rites To Ruin (8) were the first of the three bands that varied from the power metal path a little. No stranger to myself due to my history in the South Wales/South West Metal Scene, for many this may have been their first viewing of the band. Fronted by the always incredible voice of Krissie Kirby, they amped up the heaviness for a more traditional/thrashy affair, taking songs from their debut EP. Krissie giving Ann Wilson vibes as she belted though songs from Fire flanked by the biting guitars of Matt Chambers and Lee Cartner, Paul Boschen's grooving, growling bass setting a pace for Tom Ross' percussive assault. Unfazed by what had come before Rites to Ruin played with a confident swagger as they made The Asylum a louder heavier place. So confident on fact that they actually raced through their set a bit too quickly finishing with about 5 minutes to spare! Always a delight to witness Rites To Ruin continue to grow as a band, with members from all genres each show sees them becoming a slicker, more cohesive unit who you'll want to watch again.
Coming all the way from Athens Greece, to play your first every UK show, may be daunting for some bands but when you're warm up was a show in September opening for Epica, Blind Guardian and Sabaton in front of 10,000 people, I think The Asylum may not be as scary, despite the barbed wire decor. Still the nerves were there but you wouldn't know it seeing The Silent Rage (8) take to the stage. Again there was a few technical issues with Nick Sarbanis' guitar but 'new' frontman Micheal Rinakakis handled it well and boy oh boy can he sing heavy/melodic power metal that builds on the more American/German sound. Huge screamed vocals from the speed metal era make the older songs his as Sarbanis and band leader Nikos Sigilis crank out more harder edged power metal. Playing material from their last album and EP they also included a family new song too which is off their coming soon second album. George Haniotakis and Stamatis Katsafados brought thunder to the bottom end, getting heads banging, winning over a sizeable proportion of the crowd the post gig congratulations were many as The Silent Rage hopefully will now play more shows outside of Europe (that still feels weird to say)
When is a power metal band not a power metal band? When it’s Scottish melodic prog chancers Tiberius (8), having seen their wild stage show at Radar Festival, Tiberius took to The Asylum stage and then just as quickly came off it Chris Foster (guitar) and Grant Barclay (vocals) still spending most of their time in the crowd as the rest of the band; Jahan Tabrizi (guitar), Ryan Anderson (bass and Nick Kelly (drums), stayed firmly put on the stage as all manner of shenanigans were happening in the crowd. Tiberius have been likened to a power metal band in many reviews, due in part to their melodic songs and Grant's vocals but here they were probably the most left field act with a pocket full of djent riffs there was a few confused faces clutching their broadswords but for me Tiberius always deliver a stand out show live. There must be something in the drinking water up in Scotland as Tiberius are and who take the words “interactive” to a whole new meaning, Foster grinding on members of the crowd (with consent of course!) and even encouraging those in the smoking area to come in and see them, while they were performing. A class act, which stood out for numerous different reasons.
For those clad in chainmail, fresh from the battle, it was back to some more familiar territory with Southampton’s defenders of true metal Battle Born (7), taking as many cues from Manowar as they can and playing songs about the Elder Scrolls games, this was power/battle metal 101. They even have song called Man Of War just crying out for the sign of the hammer (though they’d probably get sued). With just an EP to their name, Battle Born look set to take the fight to ‘false metal’ for a good while yet. Professional staging and performances, though they haven’t quite got the ‘epic’ feel of their compatriots but that will come. Still things were back firmly in the power metal canon, with the now pretty inebriated, but very very jolly, crowd throwing up their plastic swords for the duration.
Continuing towards the home straight were a band that have recently returned from a lengthy hiatus after their previous vocalist left the band in 2019, Yorkshire’s siege masters Sellsword (8) made their return at Power Metal Quest Fest with new singer Nathan Harrison debuting as the frontman of this always excellent live act. The mix between performance and staging is brilliantly done as the shield walls are constructed on the stage, Nathan presented his Sword/Mic Stand by the Lady Of The Lake during the opener Pendragon, taking his place as the new Siege Lord of Sellsword. Despite seismic change in their membership, it didn’t seem as if they had lost any of their power as band, laying waste to The Asylum with some calculated, power metal fury, planned more meticulously and delivered more ruthlessly better than Caesar at Alesia. Welcomed back as conquering heroes, there are already more gigs in the offing so it looks as if Sellsword are back in action for good. This my friends is a reason to celebrate!
It was time for the final band and as the changeover came, it was time to reflect on the Power Metal Quest Fest experience and I have nothing but the utmost respect and kudos to Amie and the entire PMQF team for keeping this endeavour afloat despite the huge problems faced by any festival/event due to Covid/Brexit etc etc. To have two Non-UK bands playing what is quite a small festival without any other shows either side is a massive achievement, while being a showcase for the best in UK talent from both the much maligned power and prog metal genres (two genres that so often are overlooked by major festivals not just smaller ones) is a reason to show support to this festival. Friendly staff all round, decent drink prices, easy access and plenty of great bands, the room was held in anticipation for Czech conceptual metal heroes Symphonity (7) to hit the stage.
Now Symphonity are a band who are still reasonably new to me however I scored their most recent album about Marco Polo quite highly, so I was looking forward to their show. Led by guitarist Libor Křivák, this was supposed to be the first exposure of new co-vocalist Konstantin Naumenko to a UK audience, unfortunately he is Ukranian so is currently in his home country embroiled in the conflict. It meant that Mayo Petranin was joined behind the mic by vocal coach David Akesson. They linked well as they delivered the Euro-Power metal Symphonity are known for. You can see the experience by all involved though Akesson did retreat once or twice to the back of the stage as Petranin took to the barrier more often than not. Being a conceptual band, some of the songs work well outside of the album, but others didn’t still by the time their cover of Nena’s Anyplace, Anywhere, Anytime rolled around, the crowd were showing no signs of fatigue and enjoying every minute of it.
By then it was all over, a 9:30 pm curfew to accommodate a club night and the hordes filtered their way out into the Birmingham evening to go and lay siege to England's second city, or possibly fight a canal troll or something. Be in no doubt that we here at Castle Musipedia will be back in 2023 to pledge their allegiance!
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